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Bartolomeo Di Giovanni

(1460 -  1515 )
BARTOLOMEO DI GIOVANNI Saint John The Evangelist Praying

William Doyle
Jan 29, 2013
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Artworks in Arcadja
16

Some works of Bartolomeo Di Giovanni

Extracted between 16 works in the catalog of Arcadja
 Bartolomeo Di Giovanni - The Resurrection

Bartolomeo Di Giovanni - The Resurrection

Original
Estimate:

Price:

Lot number: 29
Other WORKS AT AUCTION
Description:
Bartolomeo di Giovanni (Florence c. 1475–c. 1500/05) The Resurrection tempera on panel 10 5/8 x 20 ¼ in. (27 x 51.5 cm.) Provenance (Possibly) Church of Sant'Andrea a Camoggiano, Barberino del Mugello. (Possibly) with Salvadori, Florence. with Durlacher, New York. with Horace Buttery, London. Captain and Mrs. Vivian Bulkeley-Johnson, Churchill, Oxon (The Mount Trust); Christie's, London, 1 December 1978, lot 112 (£24,000), when acquired by the present owner.
 Bartolomeo Di Giovanni - Pietà With Saint Nicodemus, The Virgin Mary And Saint John The Evangelist

Bartolomeo Di Giovanni - Pietà With Saint Nicodemus, The Virgin Mary And Saint John The Evangelist

Original
Estimate:

Price:

Lot number: 116
Other WORKS AT AUCTION
Description:
PIETÀ WITH SAINT NICODEMUS, THE VIRGIN MARY AND SAINT JOHN THE EVANGELIST Read Condition Report Register or Log-in to view condition report Or Provenance Literature Isola Bella, Archivio Borromeo, Inventario dell'appartamento de Conte Giberto Borromeo nel suo Palazzo in Piazza Borromeo 7. Milano (started on 23 November 1914 and updated), "Stanza da letto della Principessa Rosanna Borromeo, 1 Dicembre 1926, Quadri della Pinacoteca Borromeo, N. 66. Una Pietà. Attribuito al Ghirlandaio. Scuola fiorentina su tavola." Catalogue Note The attribution of this small panel to Bartolomeo di Giovanni has been confirmed by Nicoletta Pons who dates it to circa 1488-1490. Depicting the Pietà with Saint Nicodemus, the Virgin Mary and Saint John the Evangelist, it once formed part of the predella of an altarpiece. The body of Christ is seen being lowered into the sepulchre by Nicodemus who is flanked by the Virgin Mary and Saint John. In the background at left is a small, quickly painted vignette of Christ carrying the cross while, at right, the Holy Women, or Three Maries, are seen making their way to Christ\’s tomb.This painting can be compared to two other depictions of the Pietà by Bartolomeo di Giovanni: one is the central panel of a predella for an altarpiece by Domenico Ghirlandaio (formerly in Chiesa di San Marco, Florence and now in the Galleria degli Uffizi); the other, also a central panel, is in the Walters Art Gallery, Baltimore.1 The earliest work by Barolomeo di Giovanni is the predella to another altarpiece by Ghirlandaio, depicting a Sacra Conversazione, of circa 1475-80 (Lucca Cathedral). Bartolomeo frequently collaborated with Ghirlandaio, in whose workshop he may have trained. He also had a working relationship with Botticelli with whom he is thought to have collaborated on the spallieredepicting Nastagio degli Onesti\’s Banquet in the Wood (circa 1483, Museo del Prado, Madrid). Though specializing in small-scale paintings, Bartolomeo produced a few large independent works, such as the Deposition (Toronto, Art Gallery of Ontario) and a tondo depicting the Madonna and Infant Saint John the Baptist Adoring the Christ Child, sold in these Rooms (31 January 2013, lot 132). An expertise by Nicoletta Pons, dated 25 June 2010 accompanies this lot. We are grateful to Mauro Natale for providing information on the Borromeo collection and inventory. 1. See N. Pons, Bartolomeo di Giovanni, exhibition catalogue, Florence 2004, pp. 14-15, reproduced fig. 6, and p. 77, reproduced fig. 3c; and p. 47, fig. 39 reproduced.
 Bartolomeo Di Giovanni - The Madonna And Child

Bartolomeo Di Giovanni - The Madonna And Child

Original
Estimate:

Price:

Lot number: 8
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Description:
Lot Description

Bartolomeo di Giovanni (active Florence c. 1475-1501 Florence) The Madonna and Child oil on poplar panel 35 3/8 x 19 5/8 in. (89.9 x 49.8 cm.)

Provenance

Arnaldo Corsi (1853-1919), Florence. George and Florence Blumenthal, New York, by 1926, and until 1941, when gifted to The Metropolitan Museum of Art, New York,inv. no. 41.100.1, until de-accessioned in 1973; Sotheby\’\’\’\’s, New York, 15 February 1973, lot 21.

Pre-Lot Text

PROPERTY FROM A EUROPEAN COLLECTION

Literature

G. De Francovich, \‘Nuovi aspetti della personalità di Bartolomeo di Giovanni\’\’\’\’, Bollettino d\’\’\’\’arte del Ministero della Pubblica Istruzione, VI, 1926, p. 71, fig. 3. S. Rubinstein-Bloch, Catalogue of the Collection of George and Florence Blumenthal, Paris, 1926, I, pl. XIV. R. van Marle, The Development of the Italian Schools of Painting, The Hague, 1931, XIII, p. 250, fig. 171. B. Berenson, Italian Pictures of the Renaissance. Florentine School, London, 1963, I, p. 26. E.E. Gardner and F. Zeri, Italian Paintings. A catalogue of the collection of The Metropolitan Museum of Art. Florentine School, New York, 1971, p. 141. B.B. Fredericksen and F. Zeri, Census of Pre-Nineteenth-Century Italian Paintings in North American Public Collections, Cambridge, 1972,p. 16. E. Fahy, Some Followers of Domenico Ghirlandaio, New York and London, 1976, p. 161, no. 82.
View Lot Notes >
 Bartolomeo Di Giovanni - Saint John The Evangelist In Prayer

Bartolomeo Di Giovanni - Saint John The Evangelist In Prayer

Original -
Estimate:

Price:

Net Price
Lot number: 22
Other WORKS AT AUCTION
Description:
Lot 22

Bartolomeo di Giovanni

Italian, Active 1488-d. 1501

Saint John the Evangelist in Prayer

Tempera on panel, within a painted tondo

Image diameter 3 1/2 inches (9 cm); panel 3 1/2 x 3 3/4 inches (9 x 9.5 cm)

Provenance:

Alexis Francois Artaud de Montor collection, by 1811

Thomas Jefferson Bryan, New York, 1867

The New York Historical Society

Sale: Parke-Bernet Galleries, Inc., New York, December 2, 1971, lot 7, as

Christ in the Garden of Gethsemane,

Florentine School, late 15th century

Ira Spanierman, New York

Private collection

Literature:

Catalogue of the Gallery of the New-York Historical Society

, 1915, cat. no. B.15 (as by Andrea del Castagno)

Primitifs: Collection de Tableaux Rapportée d'Italie, published by Le Chevalier Artaud de Montor

(1811; 1825 edition), no. 128 as "Par André del Castagno, Jesus dans le jardin de la Montagne des Oliviers, esquisse d'un grand tableau," illus. pl. 48.

Richard Grant White,

Companion to the Bryan Gallery of Christian Art Containing Critical Descriptions of the Pictures, and the Biographical Sketches of the Painters

(New York, 1853), 13 (no. 19, as Castagno,

Christ in the Garden of Gethesemane

).

This painting was listed as

Jesus dans le jardin de la Montagne des Oliviers, esquisse d'un grand tableau

by Andrea del Castagno in the 1811 catalogue of the notable collection of Italian Renaissance painting belonging to the French diplomat and historian Alexis-François Artaud De Montor (1772-1849). This attribution was maintained after the painting entered the collection of Thomas Jefferson Bryan (1802-1870), a connoisseur of European paintings who opened the Bryan Gallery of Christian Art in his New York residence in 1852. Among his holdings were works by Guido Reni, Cimabue, Giotto, Botticelli, Perugino, Da Vinci, Titian, Fra Bartolomeo, Mantegna, Memling, Le Brun, Gainsborough, Correggio, Vernet, and Hogarth. The following description appeared in the 1853 companion guide to Bryan's gallery: "This little picture is evidently a sketch for a larger composition. It has sufficient merit, both of color and form, to make it not difficult of belief that tradition does not misrepresent RAPHAEL in attributing to him a fondness for the works of the master." (p. 13)

In 1867, Bryan transferred his collection, along with this painting, to the New-York Historical Society, where it remained in the collection until 1971. In the 1990s, the Renaissance scholar Dr. Everett Fahy (then chair of the department of European paintings at the Metropolitan Museum of Art) reattributed the painting to Bartolomeo di Giovanni (active ca. 1488 until his death in 1501) and re-identified its subject as an image of Saint John the Evangelist Praying, noting that the painting "would be included in the new edition of his

Some Followers of Domenico Ghirlandaio

(in preparation) as by Bartolomeo di Giovanni."

C The Spanierman Gallery, LLC

A few touches of restoration to the cloak and in the sky. No other restoration visibe under black light.

Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
 Bartolomeo Di Giovanni - Saint John The Evangelist Praying

Bartolomeo Di Giovanni - Saint John The Evangelist Praying

Original
Estimate:

Price:

Lot number: 44
Other WORKS AT AUCTION
Description:
Lot 44

Bartolomeo di Giovanni

Saint John the Evangelist Praying

Tempera on panel

3 1/2 x 3 1/4 inches (9 x 8.2 cm)

Provenance:

Alexis Francois Artaud de Montor collection, by 1811

Thomas Jefferson Bryan, New York, 1867

The New York Historical Society

Parke-Bernet Galleries, Inc., New York, December 2, 1971, Lot 7, as

Christ in the Garden of Gethsemane,

Florentine School, late 15th century

Ira Spanierman, New York

Private collection

Literature:

Catalogue of the Gallery of the New-York Historical Society

, 1915, cat. no. B.15 (as by Andrea del Castagno)

Primitifs: Collection de Tableaux Rapportée d'Italie, published by Le Chevalier Artaud de Montor

(1811; 1825 edition), no. 128 as "Par André del Castagno, Jesus dans le jardin de la Montagne des Oliviers, esquisse d'un grand tableau," illus. pl. 48.

Richard Grant White,

Companion to the Bryan Gallery of Christian Art Containing Critical Descriptions of the Pictures, and the Biographical Sketches of the Painters

(New York, 1853), 13 (no. 19, as Castagno,

Christ in the Garden of Gethesemane

).

C The Spanierman Gallery, LLC Collection of American Art

Any condition statement is given as a courtesy to a client, is only an opinion and should not be treated as a statement of fact. Doyle New York shall have no responsibility for any error or omission. The absence of a condition statement does not imply that the lot is in perfect condition or completely free from wear and tear, imperfections or the effects of aging.
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